Father of the synthesiser dies in US

Robert A Moog, whose self-named synthesisers turned electric currents into sound and opened the musical wave that became electronica, has died. He was 71.

Moog died on Sunday at his home in Asheville, according to his company’s website.
He had suffered from an inoperable brain tumour, detected in April.

A childhood interest in the theremin, one of the first electronic musical instruments, would lead Moog to a create a career and business that tied the name Moog as tightly to synthesisers as the name Les Paul is to electric guitars.

Despite travelling in circles that included jet-setting rockers, he always considered himself a technician.

“I’m an engineer. I see myself as a toolmaker and the musicians are my customers,” he said in 2000. “They use the tools.”

As a PhD student in engineering physics at Cornell University, Moog—rhymes with vogue—in 1964 developed his first voltage-controlled synthesiser modules with composer Herbert Deutsch. By the end of that year, RA Moog Company marketed the first commercial modular synthesiser.

The instrument allowed musicians, first in a studio and later on stage, to generate a range of sounds that could mimic nature or seem otherworldly by flipping a switch, twisting a dial or sliding a knob. Other synthesisers were already on the market in 1964, but Moog’s stood out for being small, light and versatile.

The arrival of the synthesiser came as just as The Beatles and other musicians started seeking ways to fuse psychedelic-drug experiences with their art. The Beatles used a Moog synthesiser on their 1969 album Abbey Road; a Moog was used to create an eerie sound on the soundtrack to the 1971 film A Clockwork Orange.

Keyboardist Walter (later Wendy) Carlos demonstrated the range of Moog’s synthesiser by recording the hit album Switched-On Bach in 1968 using only the new instrument instead of an orchestra.

“Suddenly, there was a whole group of people in the world looking for a new sound in music, and it picked up very quickly,” Deutsch, the Hofstra University emeritus music professor who helped develop the Moog prototype, said in a 2000 interview with The Associated Press.

The popularity of the synthesiser and the success of the company named for Moog took off in rock as extended keyboard solos in songs by Manfred Mann, Yes and Pink Floyd became part of the progressive sound of the 1970s.

“The sound defined progressive music as we know it,” said Keith Emerson, keyboardist for the rock band Emerson, Lake and Palmer.

Along with rock, synthesisers developed since Moog’s breakthrough helped inspire elements of 1970s funk, hip-hop and techno.

Charles Carlini, a New York City concert promoter, staged Moogfest in May last year to mark a half-century since Moog founded his first company while still in college. Emerson, Rick Wakefield of Yes, and Bernie Worrell of Parliament/Funkadelic were among those who played, and a second Moogfest was held a year later.

Moog had “this absent-minded professorial way about him”, Carlini said.

“He’s like an Einstein of music,” Carlini said. “He sees it like, there’s a thought, an idea in the air, and it passes through him. Passing through him, he’s able to build these instruments.

“A lot of people today don’t realise what this man brought to the masses. He brought electronic music to the masses and changed the way we hear music.”

But the now-pervasive synthesiser’s ability to mimic strings, horns and percussion has also threatened some musicians.

In 2004, musicians extracted a promise from the Opera Company of Brooklyn never to use again an advanced kind of synthesiser, called a virtual orchestra machine, in future productions.

Born in 1934 in New York City, Moog paid for his studies at Queens College and Columbia University by building and marketing theremins, which are played by passing the hand through and around vibrating radio tubes. Theremins were used create the spooky “eww-woo-woo” sounds on the soundtracks of science-fiction films such as The Day the Earth Stood Still.

He went on to attach his name to a long list of synthesisers developed over the years—among them Micromoog, Minitmoog, Multimoog and Memorymoog.

Moog, who had set up shop in suburban Buffalo, New York, sold RA Moog in 1973 and moved five years later to a remote plot outside Asheville, a scenic Appalachian mountain city and centre for New Age pursuits that Rolling Stone magazine once dubbed “America’s new freak capital”.

A deliberate man with brushed-back white hair and a breast pocket packed with pens, Moog drove an ageing Toyota painted with a snail, vines and a fish blowing bubbles.

“When I drive that thing around, people smile at me,” he said. “I really feel I’m enhancing the environment.”

He spent the early 1990s as a research professor of music at the University of North Carolina at Asheville before turning full-time to running his new instrument business, which was renamed Moog Music in 2002. The roster of customers includes Nine Inch Nails, Pearl Jam, Beck, Phish, Sonic Youth and Widespread Panic.

Moog is survived by his wife, Ileana; his children, Laura Moog Lanier, Matthew Moog, Michelle Moog-Koussa and Renee Moog; a stepdaughter, Miranda Richmond; and his former wife, Shireleigh Moog.